{"id":618,"date":"2006-08-24T01:05:00","date_gmt":"2006-08-24T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=618"},"modified":"2006-08-24T01:05:00","modified_gmt":"2006-08-24T08:05:00","slug":"cd_11","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/08\/cd_11\/","title":{"rendered":"CD"},"content":{"rendered":"<p>Sonny Rollins, <u><em><a href=\"http:\/\/concordmusicgroup.com\/artists\/album\/?id=3005\"target=\"_blank\">Work Time<\/a> <\/em><\/u>(Prestige). This was recorded more than fifty years ago. It is forever new. At twenty-six, Rollins was full of energy and bursting with ideas. I have never listened to him soar through &#8220;There&#8217;s No Business Like Show Business&#8221; and Billy Strayhorn&#8217;s &#8220;Raincheck&#8221; without grinning. Max Roach, high on his partnership with Clifford Brown, was at his apogee of drumming. Ray Bryant&#8217;s gorgeous piano solo on &#8220;There Are Such Things&#8221; is his best ballad playing on record. The bassist, George Morrow, had been working with Rollins and Roach in the Roach-Brown group and locked powerfully into Rollins&#8217; momentum. This is a basic repertoire item.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sonny Rollins, Work Time (Prestige). This was recorded more than fifty years ago. It is forever new. At twenty-six, Rollins was full of energy and bursting with ideas. I have never listened to him soar through &#8220;There&#8217;s No Business Like Show Business&#8221; and Billy Strayhorn&#8217;s &#8220;Raincheck&#8221; without grinning. Max Roach, high on his partnership with [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-618","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/618","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=618"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/618\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=618"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=618"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=618"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}